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home·artworks·The Window Towards the Sea: Phebe Folger Pitman
The Window Towards the Sea: Phebe Folger Pitman by Elizabeth Coffin

plate no. 3388

The Window Towards the Sea: Phebe Folger Pitman

Elizabeth Coffin, 1887

oilAmerican Realismportraitfigureinteriorchairknittingwindowcabinet
some experience helpful

Recreating this painting will help students understand how to depict light and shadow in a dimly lit interior and how to create realistic skin tones using a limited palette. It also provides practice in capturing the likeness of a person in a seated pose.

technical profile

palette complexity
3
brushwork visibility
3
value contrast
4
compositional simplicity
3

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure and major elements.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber or a similar neutral color.

  3. step 03

    Block in the main areas of color, such as the figure's clothing, the chair, and the background.

  4. step 04

    Refine the figure's features, paying close attention to the light and shadow on the face.

  5. step 05

    Develop the details of the knitting and other objects in the scene.

  6. step 06

    Adjust the values and colors to create a sense of depth and atmosphere.

  7. step 07

    Add highlights and final details to bring the painting to life.

  8. step 08

    Glaze with thin layers of color to unify the painting and create subtle variations in tone.

color palette

primary · ivory black · raw umber · titanium white · yellow ochre

secondary · burnt sienna · cadmium red light

Mix various shades of gray and brown by combining ivory black, raw umber, and titanium white. Use yellow ochre and burnt sienna to create warm skin tones. Add small amounts of cadmium red light for subtle highlights on the face and hands.

techniques

  • ·grisaille underpainting
  • ·scumbling
  • ·glazing
  • ·chiaroscuro
  • ·portraiture

common pitfalls

  • →Overworking the details too early
  • →Failing to establish a strong value structure
  • →Using colors that are too saturated
  • →Ignoring the subtle variations in skin tone

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·ivory black oil paint
  • ·raw umber oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·#4 round brush
  • ·#8 flat brush
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·burnt sienna oil paint
  • ·cadmium red light oil paint

Use a medium-grain canvas for best results. Consider using a toned canvas to speed up the painting process.

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